59 pages • 1 hour read
Kate ChopinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Edna finds herself unable to concentrate on her art on gloomy days, so she spends such days visiting the friends she made at Grand Isle. When Edna’s father was visiting, they went together to a race where they chatted with Alcée Arobin and Mrs. Highcamp. One day, the two decide to extend to Edna their invitation to go to another race together. Alcée finds himself enamored with Edna and escorts her home after dinner with the Highcamps. He makes many efforts to convince Edna to go to the track with him again. Edna allows him to come into the house, but only for a few minutes. Afterward, Arobin leaves she feels like she should have asked him to stay for longer. Edna goes to bed but she doesn’t sleep well. Finally, she wakes up, feeling guilty and anxious, because she had forgotten to write to Léonce that day.
After a couple of days, Alcée picks Edna up to attend the races again but this time Mrs. Highcamp is not with him. When they come back from the track, Edna and Arobin eat dinner together. Arobin notices that Edna keeps her sensuality locked inside of her. He decides to help Edna embrace her desires, and kisses her hand. Edna does not respond to his bold move and sends him away. After Arobin leaves, Edna peers at her hand, and a feeling of guilt overcomes her. Yet she feels like she has been unfaithful not to her husband, but to Robert.
Alcée writes Edna an emotional letter of apology for upsetting her the night before, but this only irritates her, as she feels embarrassed for taking the kiss on her hand too seriously. After some consideration, she writes a light and playful letter in response. Alcée perceives Edna’s response as an invitation to further flirt and the two see each other nearly every day.
Edna now often goes to Mademoiselle Reisz’s apartment, because the pianist has a soothing effect on her. One day, she tells her that she doesn’t want to stay in their family house alone while Léonce and the children are away, and instead wants to rent a smaller house nearby. Edna hopes that she can sell her sketches and use the money to pay the rent. Mademoiselle Reisz is well aware that Edna is not telling her the full truth about her reasons to move out of the family house. Finally, Edna acknowledges that she wants to live in a different house because a new place will give her a sense of personal liberty.
Mademoiselle Reisz shows Edna the latest letter from Robert. He doesn’t suspect that the pianist is showing his letters to the woman he describes as being “not free to listen to him or belong to him” (210). Edna is stunned when she finds out that Robert will soon be returning to New Orleans. In response to Mademoiselle Reisz’s questioning, Edna admits for the first time that she loves Robert simply because she does. Edna does not intend to do anything upon his return; she will merely be happy that he is back.
The news fills her with joy and on the way home, she sends sweets to her sons, along with a loving note. Afterward, she writes a letter to Léonce, and nonchalantly shares her plans of moving out of the house.
In the evening of the same day, when Alcée visits Edna, he finds her in an exhilarated yet contemplative mood. Edna shares with his companion that sometimes she feels “devilishly wicked” (216) by conventional standards, yet she is not convinced that this is an apt description of who she really is. Alcée caresses Edna’s face as he listens to her talk about her latest visit to Mademoiselle Reisz. Edna recalls the moment when Mademoiselle Reisz put her hand on Edna’s back and warned her that “the bird that would soar above the level plain of tradition must have strong wings” (217), or it will “fall back to earth, battered and bruised” (217). Alcée wonders out loud where Edna wants to fly, and she replies that she is not thinking of any “extraordinary flights” (217). As they discuss this, Alcée is stroking her hair and face. Then he leans his face forward to kiss her and she responds by “clasping his head” (218). Alcée’s kiss is “the first kiss of her life to which her nature had really responded. It was a flaming torch that kindled desire” (218).
Alcee’s kiss leaves Edna with a storm of emotions. After he leaves, she cries briefly, and although she knows that what she’s doing is not right, she doesn’t regret her actions. She is much more concerned with the thoughts of Robert and her growing love for him. Suddenly, Edna feels as if the world around her has finally become clear, “as if a mist had been lifted from her eyes, enabling her to look upon and comprehend the significance of life…” (220). She only regrets that her kiss with Alcée was the result of lust, and not of the kind of love that she feels for Robert.
Edna decides not to wait for her husband’s response and makes necessary arrangements to move out of the house. Her new home, the “pigeon house” (223), is a small building located right around the corner. When Alcée pays Edna a visit, she is already packing. She is determined to take only her own possessions and to leave behind everything her husband bought for her. She pays attention only to her packing and does not show any special affection towards her visitor. Alcée decides to help her and asks her about the going-away party she had planned. Edna responds that she will invite everyone to dinner the night before she moves into the small house. Arobin pleads for Edna to arrange a meeting for the two of them sooner, but she insists he wait until the dinner party, looking at him “with eyes that at once gave him the courage to wait and made it torture to wait” (224).
Edna’s focus on process over a goal, which became clear in the tale about two lovers in a boat, is further manifest in her attitude towards her art, as “being devoid of ambition, and striving not toward accomplishment, she drew satisfaction from the work in itself” (191). The same attitude dominates her relations, and therefore she is more interested in doing what seems pleasurable at the moment, rather than persevering for something of worth.
Edna’s transformation involves her need to satisfy not only her artistic desires, but physical desires as well. Although she feels no emotional attachment to Alcée, he presents an outlet for her animalism. At first, Edna tries to resist him, but she succumbs to his seductions after she confesses aloud to Mademoiselle Reisz her love for Robert. It might seem counterintuitive that Edna gives in to seductions of one man right after she confesses her love for another, but both of these events are a part of her awakening. After finally finding enough courage to admit her love for Robert, she feels empowered to act on her attraction toward Alcée.
Edna does not allow her affair with Alcée to change the course of her metamorphosis. Because of Edna’s newly-found independence, she does not let Alcée treat her like he owns her. After their first kiss, Alcée expects to find her “languishing, reproachful, or indulging in sentimental tears” (221); instead she is busy in her preparations for her move. Afterward, Edna does not agree to see him at his convenience but insists that he waits until she has time for him. Edna does not let her relationship with Alcée consume her life, but instead uses it to quell her newly-awakened sexual desire.
Edna’s decision to move to a smaller house allows her to feel like she is finally no one’s possession. All those items that Léonce has bought and that surround her in their home serve as a constant reminder of his ownership of her. Moving to a new house also signifies an escape from convention, an escape she has longed for since the summer at Grand Isle.
Mademoiselle Reisz becomes Edna’s closest friend because she recognizes in Edna the same desire for independence that she has. Being aware of obstacles Edna will have to overcome in her struggle to live outside of societal convention, Mademoiselle Reisz warns Edna that she will need much strength and courage, a comment that echoes her earlier remark that an artist must possess a courageous soul. Mademoiselle Reisz’s metaphor of the bird fluttering back to earth continues the novel’s symbolic association of Edna to a bird.
By Kate Chopin
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